This catalogue charts the development of children’s literature from the earliest stages to the pres- ent day through a sequence of books, manuscripts and paintings.
AN ENDURING MAGIC An Enduring Magic Treasures of Children’s Literature
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Front cover: Adaped from the cover of the In Powder and Crinoline illustrated by Kay Nielsen ( item 6 ). Rear cover: The original manuscripts for Now We Are Six (item 53)
CATALOGUE 92
An Enduring Magic Treasures of Children’s Literature
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Introduction Children’s literature is easy to talk about but difficult to define. Are they books written for chil- dren? So many of the books most popular with children were written for adults. Books widely read by children, then? This would include The Bible and a number of purely educational texts, which would not readily fall into most people’s notion of a children’s book. The fact is that whilst books have been read to or by children for as long as they have existed, the concept of writing and publishing books specifically for the enjoyment of children is a fairly recent phe- nomenon. This catalogue charts the development of children’s literature from the earliest stages to the pres- ent day through a sequence of books, manuscripts and paintings, which we hope you will agree, demonstrates through the vivid imagination of childhood, an enduring magic.
Nursery Rhymes and Fairy Tales In the seventeenth century, books published for children were remorseless- ly instructional (spelling, conduct) or pious religious works. John Locke’s 1693 work, Some Thoughts Concerning Education , was groundbreaking in that it encouraged the writers of texts for children to make them engag- ing to young minds. Specifically he suggests Aesop’s fables as both age appropriate and containing the requisite inherent wisdom, but stops short of endorsing flights of fancy, “be sure to preserve his tender mind from all impressions and notions of Spirits and Goblins”. He goes on to claim that the oral tradition of fairy tales was only for the lower social classes. This widely held thesis was only true in part: whilst commoners were an important source for many later compilers, the oral tradition comprised a complex ecosystem of transition and included travelling merchants and
tradespeople as well as the middle classes who might encounter the works through theatre or verse. Locke’s view was also firmly anglocentric: as early as 1690 French aristocratic salons were both being entertained by and developing the conte de fées which Charles Perrault helped to bring to prominence (see items 3-7).
It was not until the eighteenth century that texts designed to appeal to children were widespread. These narratives still showed a strong sense of moral guidance or educa- tion through rhyme, but the introduction of supernatural elements, which touched the imagination of their young readers, blurred the lines between the didactic and the rec- reational. Many of these books are little known today, but their impact was far reaching and opened the door for the publication of works based on oral traditions from across the world, such as Arabian Nights and the works of Ander- sen and Grimm.
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“THE MOST CONSPICUOUSLY DECORA- TIVE VOLUME OF THAT KIND” 1. The Fables Of Esope PARKER, Agnes Miller [illus.] Gregynog Press, 1931. The Gregynog Aesop. Folio. One of 250 copies, this apparently is- sued out of series with the limitation num- ber clipped from the colophon. Bound at Gregynog in Welsh natural sheepskin with black lettering on the spine and printed on Barcham Green hand made paper in Bembo type. Thirty-seven illustrations engraved on wood by Agnes Miller Parker. A very near fine copy, uncommonly clean and fresh. The binding, with its soft sheepskin so prone to wear, shows only the lightest rubbing to the spine. [42713] £7,500 An exceptionally nice example of one of the finest books produced by one of the finest presses of the Private Press movement. The illustrations by Agnes Miller Parker are con- sidered by Colin Franklin to rank this book as “the most conspicuously decorative volume of that kind”, the binding is smooth, appropriately natu- ralistic and exceptionally well preserved, and the type, hand-set by Richard Jones, is generous and exacting. Writing in his The Private Presses, Colin Franklin concluded that “the entire work of Gregynog, print- ing and binding, produced a better thing that any- one else had attempted”. Jones (pp. 30-1).
2. The Fables of Aesop DETMOLD, E.J.
Hodder and Stoughton, [1909]. First edition illustrated by Detmold. 4to. Original brown cloth with gilt lettering and gilt illustration to the spine and upper cover. Pictorial endpapers. Twenty-three wonderful mounted colour plates in a gilt border and protected by captioned tissue guards. A near fine copy with a tiny bump to the lower joint and front hinge just starting. [44668] £750
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3. “Whereupon she instantly desired her partner to lead her to the King and Queen” An Original Watercolour for Cinderella DULAC, Edmund 1910. A large original ink and watercolour painting on artist’s board which illustrates the story of Cinderella. 317 x 259 mm. Signed and dated lower right (“Edmund Dulac 10”). In fine and unfaded condition. [45497] £60,000 An exceptional watercolour from what is generally regarded as Dulac’s finest work. “Mr Dulac’s illustrations are, of course, the reason for this beautiful book’s being. Mr Dulac, like Mr Rackham, has a genius for taking the classics of childhood and giving them a new interest for old readers. Children will probably object that he does not really illustrate the stories, but merely uses them as a sort of screen upon which to throw his magic arrangements of bright and moony colours” (The English Review). A review of the Leicester Galleries exhibition stated that “in... Dulac’s watercolour illustrations to fairy tales... there is the same feeling for harmonious colour and decorative composition which has always distinguished his art” (The Academy). In his study of Dulac, Colin White specifically compared this illustration with “two other watercolours of similar encounters between lovers, drawn in 1912 and 1913 respectively, by Hugh Thomson and Kay Nielsen”. Ulti- mately, White concluded that “each illustrator has an entirely different approach; each in his own way succeeds admirably”, but in Dulac, “penwork is used mainly to define figures and objects, and it is the colour that is an essential element in modelling and in atmospheric effect” (White, p. 47). LITERATURE: The Sleeping Beauty and Other Fairy Tales edited by Arthur Quiller-Couch (1910), p. 64. PROVENANCE: Exhibited at Leicester Galleries, Nov-Dec 1907, no. 50; Sheffield City Art Gallery, Nov 1982 - May 1983, no. 15; Colin White (Collector and biographer of Dulac and Jessie King).
A truly opulent gift book
4. The Sleeping Beauty and Other Fairy Tales from the Old French, retold by Sir Arthur Quill- er-Couch. DULAC, Edmund Hodder & Stoughton, [1910]. First Dulac edition. 4to. Brick red pebbled cloth binding decorated with gilt stamped decoration to both covers and spine. Thirty beautiful tipped in colour plates with captions below (three with light corner turns), under pro- tective tissue guards. A near very good copy, a small split to rear joint and contents a little loose between sections. [46128] £350 The colour illustrations in this book of fairy tales are very beautiful, with rich colours and plenty of Dulac’s trade mark starry skies. Stories are The Sleeping Beauty, Blue Beard, Cinderella and Beauty and the Beast.
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5. “List, ah list to the zephyr in the grove” An Original Watercolour from “In Powder and Crinoline” NIELSEN, Kay
[1913]. Original pen, ink, watercolour and wash heightened with gold and graphite. 270x310mm. Signed and dated ([19]13) in the lower left corner. A fine, beautifully characteristic piece in excellent condition with a couple of faint spots in the yellow sky. Mounted and framed. [35261] £50,000 “Nielsen shows in his development a fancy so delicate and an outlook so original that no charge of plagiarism can be brought against him. His colour work is delicate and suggestive rather than forceful. Very lovely is its faint blues and greens with tones of peach is the illustration plate 21 [i.e. this painting] where the high folly, the love birds and the blossom testify to the legacy of Japan.” - Keith Nicholson (Kay Nielsen, 1975) Nielsen produced 26 watercolours for In Powder & Crinoline to illustrate seven fairy tales chosen by Sir Arthur Quiller-Couch. This watercolour illustrates the story, “Felicia or The Pot of Pinks”. LITERATURE: In Powder and Crinoline edited by Sir Arthur Quiller-Couch (Hodder & Stoughton, 1913), p.52.
6. In Powder And Crinoline Fairy Tales retold by Sir Arthur Quiller-Couch NIELSEN, Kay [illus.]
Hodder & Stoughton, [1913]. First edition, deluxe issue. One of 500 copies, printed on large handmade paper and signed by the art- ist, this copy issued out of series. Original green-stained vellum, elaborately titled and decorated in gilt. Top edge gilt, others un- cut, with silk green ties. Housed in a custom made fleece-lined green slipcase with matching silk green pull. Twenty-six colour tipped in plates, mounted on grey art paper with decorated bor- ders, under captioned tissue guards. Text printed in grey with floral headpieces on each page. Chapter headers and tailpieces by Nielsen in line. A fine copy of a most beautiful book, the cov- ers bright with only some light rubbing to the corners, in a fine slipcase. A magnificent copy. [43036] £5,000 Nielsen’s first commission, remaining one of the most beautiful books to come out of the “Golden Age” of book illustration. This deluxe edition contains two extra plates not present in the trade edition.
7. Cinderella Retold by C.S. Evans RACKHAM, Arthur [illus.]
William Heinemann, 1919. First edition illustrated by Rackham. 4to. Pictorial boards with silhouette style illustration in the orig- inal dustwrapper. Pictorial endpapers. Tipped in colour frontis, three double page silhouette drawings in colour and silhouette illustrations by Rackham throughout A very good copy indeed, bright and clean, with just a short closed tear to the lower edge of the frontispiece mount. The dustwrapper, which is in nearly very good condition is clean, but somewhat worn at the spine ends. [45753] £300
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8. “The Magician Struck but his Blows Fell Wide.” Original watercolour from Aladdin and his Wonderful Lamp MACKENZIE, Thomas [1920]. Original ink, watercolour and gouache on artist’s board. 235x320mm. Mounted, framed and glazed. In bright condition. [43043] £8,500 A suitably dramatic image from Yorkshire artist, Thomas Mackenzie’s best known work, Aladdin in Rhyme , de- picting the final battle between Aladdin and the Sorcerer as Aladdin seeks to rescue the Princess Bedrelbood. Born and raised in Bradford, Thomas Mackenzie’s work owes much to the influences of Kay Nielsen and Aubrey Beardsley and elements of both those artists’ work can be seen in this piece. In particular he shared their ability to imbue a scene with a wondrous quality, so appropriate for fantastic tales of the Golden Age gift book. LITERATURE: Aladdin and his Wonderful Lamp in Rhyme by Arthur Ransome (Nisbet, 1920), plate XI.
floral decoration to background and gilt titles and gilt design of a ship in full sail passing before a Persian Palace. Decorative end- papers. This copy is still housed in the original glassine and the publisher’s card box, which has a colour plate on the upper cov- er. This is a beautifully designed book with twenty three lovely colour plates mounted within a decorative border and protected by a captioned tissue guard. Each page of text has the same deco- rative border. A fine copy, remarkably clean and bright. [44798] £2,500 Stories included are Sindbad the Sailor, Aladdin and The Wonderful Lamp, The Story of Three Calendars and The Sleeper Awakened.
BEAUTIFUL EDITION DE LUXE 9. Aladdin And His Wonderful Lamp In Rhyme RANSOME, Arthur; MACKENZIE, Thomas [illus.] Nisbet, [1920]. First edition, Edition de Luxe in large format, printed on beautiful handmade paper. Number 213 of only 250 copies, numbered and signed by the artist. American issue with Brentano on the spine (though printed and bound in the UK with the rest of the limitation). Large quarto, 335mm x 265mm. Full white buckram with gilt embossed lettering and illustration. Top edge is gilt and others are untrimmed. From endpaper to end- paper each page is decorated with black and white drawings, in a striking Art Nouveau style. There are twelve colour plates mounted beneath captioned tissue guards, all are in perfect con- dition. The plates are vibrant and striking. A near fine copy, pre- vious owner’s name to the front blank. [39243] £2,750 This book is a wonderful collaboration of Ransome’s retelling the story of Aladdin and His Lamp and beautiful decorations by Yorkshire artist, Thomas Mackenzie. In a letter in late 1919 Mackenzie laments problems with the production of this Edition-de-Luxe saying that the sheets were not dry enough to be bound up, because of “the continuous damp weath- er and the hand made paper it is printed on”. As a result the Deluxe edition did not go on sale until sometime in 1920 (the book was aimed at the Christmas gift market of 1919). The artist also comments “there are mistakes in it due to inexperience and immaturity which I hope you will close your eyes to.” IN ORIGINAL BOX 10. Sindbad The Sailor & Other Stories From The Arabian Nights DULAC, Edmund [illus.] Hodder & Stoughton, 1914. First edition. 4to. Tan cloth with blue
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WITH HAND COLOURED ILLUSTRATIONS
11. Songs For The Nursery Collected from the Works of the Most Renowned Poets, and Adapted to Favourite National Melodies [DARTON, William] William Darton, 1825. Third Darton printing, rare hand-coloured issue. Square 16mo (130x105mm). Original muslin covered boards with title label to upper cover. Twenty-four wood engraved plates after William Marshall Craig each with original hand colouring. A very good copy indeed, some- time neatly rebacked and front endpaper renewed, small chip to the title label. Internally fresh, a very well preserved copy. [42445] £15,000 The 1825 printing, with rare hand colouring, of one of the most important and influential books of nursery rhymes, which originally contained the first appearance in print of such rhymes as Miss Muffet and Old Mother Hubbard. First published, unillustrated, by Tabart in 1805 and then with illustrations in 1808. Darton first issued this version in 1818 with re-engraved illustra- tions. Many of today’s well known nursery rhymes and songs found their origins in the sixteenth and seventeenth centuries but were passed down in the oral tradition until the mid eighteenth century when collections were committed to print. Songs For The Nursery was the culmination of these early endeavours, without which many rhymes would have been lost. Darton’s printings were available in three states: without illustrations for 6d, with illustrations for 1s/6d and with hand coloured illustrations for 2s/6d. Anecdotally, it seems the majority of copies purchased were with uncoloured illustrations and examples with the original hand colouring are extremely rare. Two other copies of the 1825 printing are recorded at auction, the only hand coloured version of which was in 1978 and only three copies are recorded in institutions (V&A, Lilly Library and Chicago) none of which have hand coloured illustrations.
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13. The Fairy Tales Of Grimm And Andersen ANDERSON, Anne Collins, [c.1925]. First edition. 4to. Original blue boards, lettered and decorated in gilt, in the original dustwrapper which has a colour onlay to the upper panel. Eight colour plates, nine full page line drawings and numerous further illustrations in line, all by Anne Anderson. A very good copy, spine a little uneven due to the chunky size, repairs to tears to the top edge of pages 157
and 159 (book 2) and a gift inscription to the free front end paper, in the very good, rare original dustwrapper, which is bright and at- tractive. [46162] £650 A beautiful collection of favourite fairy tales from Hans Christian An- dersen and the Brothers Grimm, including Hansel and Grethel, Rapunzel, The Shoes Which Were Danced to Pieces and many more.
12. The Fairy Tales Of The Brothers Grimm RACKHAM, Arthur; GRIMM, Brothers Constable, 1909. First Rackham edition. Large 4to. Edition de Luxe, number 494 of 750 copies signed by Arthur Rackham. Full white vellum with gilt embossed lettering and decoration. Top edge gilt and others untrimmed. Forty colour plates mounted
14. Stories From Hans Andersen DULAC, Edmund; ANDERSEN, Hans
under captioned tissue guards, as well as numerous black and white il- lustrations. A near fine copy, the vel- lum uncommonly clean. A light bump to top of the spine, the paper is clean and fresh, as are the illustrations, one of which has a tiny corner crease. Silk ties present, but detached. A most im- pressive book. [45626] £6,000 “What a book for any child, big or small, to find on Christmas morning as its new property left by Santa Claus!...a picture wherever a picture can be put...a posses- sion which will win him the envy not only of his brothers and sisters, but of all the grown-ups too.” The Bookman, 1909. Contains all the favourite fairy tales from the Brothers Grimm, such as Hansel and Grethel, Red Riding Hood and Rapunzel.
Hodder & Stoughton, 1911. First edition with illustrations by Dulac. 4to. Olive cloth with gilt lettering and decoration. Upper cover has an embossed illus- tration of an Art Nouveau style Snow Queen. Endpapers decorated with olive peacock design. Twenty eight mounted colour plates under captioned pages with designs in olive green. Each page is dec- orated with pictorial borders. A near fine copy, very clean, with a touch of toning to the spine and rear hinge starting to crack. [45590] £500 Stories comprise: The Snow Queen, The Nightingale, The Real Princess, The Garden of Paradise, The Mermaid, The Emperor’s New Clothes and The Wind’s Tale.
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Victorian Children’s Books The success of the fairy stories of Anderson and Grimm had shown how favour- ably children responded to imaginative flights of fancy. However such tales of wonder largely came from overseas; children’s literature from within Britain still sought to instruct and was mainly given over to moralistic tales highlighting the virtues of compliant behaviour and hard work. The rapid industrialisation of Britain throughout the nineteenth century saw an increase in working children, and children at work had little opportunity to learn and so to read. Charles Dickens was one who was concerned by the possibility of a burgeoning class of uneducated masses and used his writing to bring the issue to a wider audience. His A Christmas Carol was written as a cautionary tale, a secular, if spiritual, parable, but the simple message and central role played by a child made it immediately appealing to a younger audience and within a genera- tion it had established itself as a children’s staple. However, the dramatic cultural shift in children’s literature happened a few years later when an Oxford mathematician was convinced to publish the whimsical tale he had told to young friends on the banks of the Thames. Lewis Carrol’s Alice in Wonderland was a book expressly for children, which had no moral message, was of full length and was fantastical for the sole purpose of enthralling and amusing its readers. Although structured like a novel, it was illustrated throughout: after all as Alice says, “What is the point of a book without pictures of conversations?”. It was the work Victorian children had been waiting for and was an instant and tremendous success. It was reprinted repeatedly and continues to inspire gener- ations of illustrators to this day. It was also, with one languid swipe, a hammer blow to the moralistic children’s book. Now characters could be adventurous, dangerous, magical, whimsical or badly behaved and other authors, emboldened by Alice’s success, began to write for children
in a whole new way. The floodgates had been opened to a gold- en age of children’s books.
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15. “Mrs Cratchit Entered - Flushed, But Smiling Proudly - With The Pudding” Original Watercolour for A Christmas Carol RACKHAM, Arthur; [DICKENS, Charles] 1915. Original pen, ink and wash on card. Signed by the artist in the lower right hand corner and below the painting in Rackham’s hand is the caption, “Mrs Cratchit brings in the Christmas Pudding, Dickens’ A Christmas Carol” and a further full signature. 22.8cm x 17.8cm. The image in very good condition indeed, with a little browning to some sections of the background. [39211] £9,500 Arthur Rackham and Charles Dickens are perfect companions to provide a Christmas cheer. LITERATURE: A Christmas Carol by Charles Dickens (Heinemann, 1915) p.88. Also used as the dustwrapper artwork for an American edition of the same title
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16. A Christmas Carol DICKENS, Charles
Chapman & Hall, 1843. First edition, first issue with ‘STAVE I’ on page [1]. Original red-brown cloth with gilt vignettes on upper cover and spine, and blind stamped border (Todd’s first issue binding). Yellow coated endpapers and a blue and red title page dated 1843. All edges gilt. Four hand coloured plates by John Leech, with four woodcuts in the text. A very good copy indeed, with the cloth and gilt notably bright and entirely unrepaired, just a little wear to a couple of corners and a couple of tiny hairline splits to the rear joint. The spine is a little cocked and there is a bookplate to the front pastedown and neat ownership initials to the front endpaper. Internally very fresh and hinges perfect. A very well preserved copy. [45757] £30,000 Dickens completed writing A Christmas Carol in November 1843 and was determined to produce it as a beautiful gift book. He stipulated that it should have a fancy binding, all edges gilt and four full page hand coloured etchings. He asked for the title page to be printed in red and green and to have matching hand coloured green endpapers. Once the first copies had been produced thus Dickens found, to his disappointment, that the title page colours looked drab and the chalky endpapers smudged and colour dusted off. In response, the title page was now to be printed red and blue and use yellow coated endpapers, which did not need to be hand coloured and thus had more durability. Together with these changes was an amendment to the date on the title page from 1844 to 1843 as the book was to be published for Christmas of that year. So it was that copies with yellow endpapers and red and blue titles were the ones prepared for publication day. The order in which copies were bound up for sale is impossible to determine and is a matter for conjecture as all three main variants were available on publication day and the publishers would most likely have issued whatever was to hand. The book was an instant success, reportedly selling all 6000 copies of the first edition on the first day of publication, almost single-handedly spawning a new genre of “Christmas literature”. Buoyed by his success, Dickens wrote a further four Christmas stories each seeking to strike a blow for the poor, uneducated and repressed, but imbuing his message with characteristic humour and good cheer. All were well received and sold well, though it is A Christmas Carol which has best stood the test of time. “it is rather as if Dickens had rewritten a religious tract and filled it both with his own memories and with all the concerns of the period. He had, in other words, created a modern fairy story. And so it has remained.” - Peter Ackroyd (Dickens) Smith II 4
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EDITION DE LUXE 17. A Christmas Carol In Prose, being A Ghost Story for Christmas DICKENS, Charles; BROCK, C.E.
Dent, 1905. First edition illustrated by Brock. 12mo. Deluxe issue. Full white vellum, elaborately decorated and titled with gilt. Top edge gilt, others untrimmed. Eight colour plates and numerous black and white drawings. A fine copy, with slight bowing to the boards. Remarkably clean and bright. [44559] £800 Dickens sought to have A Christmas Carol published as a lavishly pro- duced book. Once out of copyright, publishers and illustrators competed to produce their own version of the work. This deluxe issue with Brock’s perfectly Victorian style illustrations, neatly captures the gift book style of the original.
18. A Christmas Carol RACKHAM, Arthur; DICKENS, Charles
Heinemann, 1915. First Rackham edition. 8vo. Original purple cloth with titles and decoration in gilt. In the original pictorial dustwrapper. Pictorial endpapers, twelve full page colour plates and various line drawings in the text. A very good copy, gilt to spine a little dulled, with some light spotting internally, in a very good dustwrapper which has a neat internal repair to the upper joint and minor chipping to the extremities. [44817] £1,200
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DOWN THE RABBIT HOLE 19. Alice’s Adventures In Wonderland CARROLL, Lewis (DODGSON, Charles L.) Macmillan, 1866. First published UK edition. 8vo. Handsomely bound in full red morocco with raised bands to the spine and gilt titles. All edges gilt. Illustrations in black and white by John Ten- niel. A very good copy, attractively bound, some finger marking to text and a corner repair at page 163, which does not affect the text. [45679] £8,500
HANDSOMELY BOUND BY BAYNTUN RIVIERE 20. Alice’s Adventures In Wonderland CARROLL, Lewis; TENNIEL, John Macmillan and co., 1868. Fourth edition (tenth thousand). 8vo. Finely bound in full red calf by Bayntun Riviere with gilt rules and five gilt vignettes of characters from the story on each cov- er. Raised bands to spine with gilt titles on two morocco title labels and four further gilt vignettes. Gilt dentelles to turn-ins and marbled endpapers, all edges gilt. Original red cloth covers
and spine bound in at the rear. Black and white frontispiece under tissue guard. Forty-one further illustrations by John Tenniel in line. A near fine copy, with a small chip to the lower title label, in- ternally bright and clean with only two tape marks to the verso of the front free endpaper. [46149] £2,000 Published only two years after the first print- ing in 1866, in an exquisite Bayntun Riviere binding. This classic story was thought up by Charles Lutwidge Dodgson (pseudonym Lewis Car- roll) on a summer’s day on the river Isis near Oxford. Williams, Madan and Green 46c.
This classic story was thought up by Charles Lutwidge Dodgson (pseudonym Lewis Car- roll) on a summer’s day on the river Isis near Oxford. During the day on the river with friends he told the tale of Wonderland to three little girls from the Liddell family. Later, Al- ice Liddell begged Dodgson to write the story down for her. He did this and added a few of his own illustrations. Before giving the book to Alice, Dodgson showed the book to sev- eral friends, including fantasy writer George MacDonald, who encouraged him to have the book published. In order to get the tale ready for publication it was enlarged and Punch illustrator, John Tenniel, was commissioned to do the drawings. Macmillan then printed around 2,000 copies of the book in 1865, but both artist and author were unhappy with the poor quality printing and insisted it was reprinted before being published. Using a different printer, this 1866 version is the first published edition. It is now considered to be one of the finest children’s books ever written.
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ONE OF TWO KNOWN COPIES WITH AN ORIGINAL DRAWING BY TENNIEL
21. Alice’s Adventures In Wonderland CARROLL, Lewis [DODGSON, Charles Lutwidge]; TENNIEL, John
Macmillan, 1866. First UK published edition. Pale blue endpapers. Original red cloth with gilt lettering to the spine and vignette to the upper cover. All edges gilt. Presentation copy inscribed by Tenniel to the half-title, “with [monogram] JT’s kind regards/ Xmas 1867” with an original pencil drawing of the Mad Hatter. Forty two illustrations after John Tenniel. A good copy, rebacked preserv- ing original spine. A number of pages frayed or with repaired closed tears. A couple of illustrations with early hand-colouring, now mostly erased. [44666] £60,000 An exceptional copy of the 1866 Alice, one of only two known copies with an original drawing by Tenniel and the only one remaining in private hands. This copy appears in Justin Schiller’s 1990 census of Drawings Made by Tenniel as part of Inscriptions in Books . The census locates only five books in which Tenniel added a drawing to an inscription. Two were copies of the 1866 Alice, and the other three were in copies of Through The Looking Glass . The present inscription and drawing was published in Frances Sarzano’s monograph 1948 Sir John Tenniel (p.57), where the book is noted as being the property of H.M. Lingford. It was later sold when Lingford’s Lewis Carroll collection came up at Sothebys in 1951. The only other copy of the 1866 Alice with an original drawing by Tenniel was given by the artist to Marian Pritchett for Christmas in 1865. It was later owned by the collector Charles C. Auchincloss and sold at his sale at Parke-Bernet New York (29th-30th November, 1961, lot 135). It is now in the Alfred C. Berol Collection at New York University, which makes the present example the only remaining copy in private hands. Carroll wrote Alice in 1864, expanded from tales told to amuse Alice Liddell, with John Tenniel engaged as illustrator. An initial printing, undertaken by the Clarendon Press in Oxford in early 1865 was recalled by Carroll, as John Tenniel considered the printing unsatisfactory. The story was then printed by Richard Clay in time for Christmas of that year, the title page dated 1866, and this forms the first commercially published edition of Alice’s Adventures in Wonderland . The success of the book was immediate, and the combination of Tenniel’s illustrations and Dodgson’s story opened the floodgates to a regular pro- cession of successful children’s novels to follow. Schiller 4b. Williams, Madan, Green and Crutch 46. PROVENANCE: John Tenniel (1820-1914), his presentation inscription; H.M. Lingford (1891-1950), sold with his collection at Sothebys London, No- vember 1951 for £52.
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AUTHOR’S PRESENTATION COPY IN PRESENTATION BINDING AND DUSTWRAPPER
22. Through The Looking Glass, And What Alice Found There CARROLL, Lewis (DODGSON, Charles Lutwidge)
Macmillan, 1877. Fortieth thousand, i.e. a later issue of the first edition as per Williams Madan Green 84. Publisher’s special deluxe bind- ing of white textured paper covered boards to imitate vellum, with gilt lettering and vignettes, in the exceptionally rare unprinted original lilac dustwrapper. All edges gilt. Author’s presentation copy, inscribed on the half title, “May Forshall from the Author / Dec 3. 1877” Black and white illustrations throughout by John Tenniel. A fine copy with exceptionally clean white covers and bright gilt, just a couple of trivial marks to the edges. Internally fresh with tight hinges. Two pin holes to the front endpaper and a faint mark to the edge of the preliminary pages. Dustwrapper rather worn, with small chips to the spine ends and corners and a larger chip to the corner of the back panel. An exceptional copy. Included with this book is an original carte-de-visite mounted photograph of Mary Forshall taken by Carroll, numbered by him (2485) in violet ink on the reverse. [35715] £40,000 Mary Forshall (known as May) was the daughter of the Highgate physician Francis Hyde Forshall, an acquaintance of Charles Dodgson’s. Dodgson recalls his first meeting with May in a diary entry of 27 November 1877, “Dined with Sampson, to meet Dr. Forshall with his sister, etc., and May Forshall, a nice child of 10.” In the 1 December 1877 entry, Dodgson mentions May “came to be photographed” at 11am, an appointment which was repeated two days later, with the result that Carroll took, “5 negatives, of which 2 failed”. It was on the second meeting that Dodgson presented one of his newly received copies of Through the Looking Glass, in a specially commissioned presentation binding. Dodgson took an obsessive interest in the production of all his books and would habitually order small quantities to be bound up in a variety of non-standard styles and hues for his own use, wanting to have a ready supply of special bindings, which differed from the shop bought version, to be used as presentation gifts. Of these styles, the white binding seems to have been the one chosen by Dodgson for his most favoured presentations. It is also a style of binding which has fascinated latter day collectors. For the publication of The Hunting of The Snark , the year before this book, Dodgson had commissioned an array of coloured bindings including “20 bindings in white vellum and gold”. This was changed to parchment style paper or cloth and gold, on economic grounds. Dodgson appears to have placed a similar order for both Alice (then in its sixth edition) and Through the Looking Glass, which were delivered late in 1877. They are now of the utmost scarcity, seldom appearing in commerce. When they do, they are usually in a poor or repaired state, as the fragile white boards were particu- larly prone to damage. In this case the presence of the original dustwrapper, itself probably a unique occurrence, has meant that the white binding has remained in exceptional condition. Williams, Madan, Green 84
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23. Alice’s Adventures In Wonderland CARROLL, Lewis; RACKHAM, Arthur [illus.] William Heinemann, [1907]. First Rackham edition. Edition de Luxe, one of 1100 copies printed on handmade paper. Large 4to. Publisher’s full white buckram, with gilt titles and vignettes. Top edge gilt, others uncut. Housed in publisher’s original card slip- case. Pictorial endpapers. Thirteen colour plates mounted onto brown art paper and protected by captioned tissue guards. In ad- dition there are lots of charming line drawings. A very near fine,
24. Alice’s Adventures In Wonderland and Through the Looking Glass CARROLL, Lewis; PEAKE, Mervyn [illus.] Wingate, 1954. First hardback edition with Peake’s illustrations. 8vo. Blue cloth with gilt lettering and vignette on the spine, in a pictorial dustwrapper. Inscribed on the free front endpaper, ‘For Clare Smart/ With best wishes/ from/ Mervyn Peake’. Sixty-five black and white illustrations, some full page, where
Peake visualises the creations of Car- roll through his own eyes. A near fine copy, in a very good dustwrapper, with a couple of short edge tears and minor wear. [46458] £950 The recipient of the book, Clare Smart, was a childhood friend of Peake’s daughter, Clare Peake, and a frequent visitor to their household. This book was first published in paperback, the dustwrapper illustrations were then drawn specially for this hardback edition. Lewis Carroll’s classic children’s book with the wonderful and unusual illustrations by Mervyn Peake. PROVENANCE: From the collection of Clare Smart, ownership inscription to front endpaper.
clean copy, with just a hint of toning to the spine and the odd spot to contents, but exceptionally clean by the stand- ards of this book. The book protected by the slightly edge worn original slip- case. [45289] £4,000 The story of Alice had a special resonance with Rackham, as he wrote, “My experienc- es of the book are absolutely delightful... it was read aloud to us (3 about the same age, 11, 10, 9) sat by my father & and at once became a household word... It is possible that my father’s appreciation of it helped us children too. It was read with full dramatic effect, the songs sung and so forth”. Certainly Rackham’s Alice is beautifully drawn, fresh faced and rosy cheeked, her sense of wonder clearly apparent. Carroll’s fantasy world is perfectly suited to Rack- ham’s humour and vivid imagination, mak- ing this a most appealing interpretation of Alice.
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26. The Jungle Book with The Second The Jungle Book KIPLING, Rudyard Macmillan, 1894, 1895. Two volumes, both first editions. Fine- ly bound by Bayntun Riviere in full blue morocco with inlaid leather scenes to the upper cover of each volume depicting an elephant and a bear, surrounded by an ornamental gilt border. Raised bands to spine with gilt titles and vignettes. Gilt decorat- ed turn-ins and marbled endpapers, all edges gilt. Illustrations in black and white by J. Lockwood Kipling, W.H. Drake and P. Frenzeny. A fine set in a handsome and elaborate binding, housed in a fleece-lined, cloth slipcase. [45854] £4,500
25. Bevis The Story of a Boy JEFFERIES, Richard
Sampson Low, Marston, Searle & Rivington, 1882. First edition. Three volumes. Carter’s primary binding in brown cloth blocked in black and gilt. A fine set, cloth exceptionally bright and clean with just a hint of pushing to the spine ends. Hinges in vol II and rear hinge in vol III starting, but sound. Internally fresh. [44097] £1,250 The author’s best known work and one of the classic boys’ stories. Miller & Matthews B15.1; Sadleir 1305
27. Just So Stories For Little Children KIPLING, Rudyard
Macmillan, 1902. First edition, first issue. 4to. Red pictorial cloth with lettering and illustration in white and black. Black and white illustrations throughout by the author. A near fine copy, with a little rubbing to the white pigment on the spine. Inter- nally very fresh. Contemporary bookplate to front pastedown. [44500] £1,500 Kipling’s well loved stories include: “How the Camel Got His Hump” and “How the Leopard Got His Spots”.
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BEATRIX POTTER’S FIRST BOOK
28. A Happy Pair Verses by F. E. Weatherly [POTTER, Beatrix] H.B.P
Hildesheimer & Faulkner, [1890]. First edition. Original folded card covers illustrated in colour by Potter, enclosing seven card leaves tied at the spine with the original silk tasselled tie. All edges gilt. Illustrated internally with six exquisite chromolithographs by Pot- ter, one of which is duplicated on the upper cover. A near fine copy with light wear to the spine fold, though much less than usual, and a faint crease to the upper corner. An exceptionally bright and crisp copy and very rare indeed in such a state. Housed in a full morocco clamshell box. [40948] £30,000 The first work to contain illustrations by Beatrix Potter, preceding The Tale of Peter Rabbit by some eleven years, and of legendary scarcity. In the summer of 1889 the twenty four year old Beatrix Potter had bought herself a pet rabbit. “I brought him home from a London bird shop in a paper bag. His existence was not observed by the nursery authorities for a week.”. She christened him Benjamin Bouncer, and he was to be the model to satisfy her voracious appetite for drawing. “One of the greatest admirers of her work was her uncle, and when he heard that she had set her heart on buying a printing press but had not enough money for it, he suggested she might try to earn some by selling her drawings... With this encouragement, Beatrix set about preparing six designs, using Benjamin Bouncer as her model... and when they were disappointedly rejected by the first firm on the list by return of post, Walter [her broth- er] took the drawings by hand to the next firm, Hildesheimer & Faulkner, on his way through London. Mr. Faulkner bought them on the spot for £6 and then asked to see more of the artist’s work.” (Judy Taylor) The drawings were used for Christmas cards but also collected into this ephemeral little booklet to accompany a set of verses by Frederic Weatherly, thus launching Potter’s career as an author-illustrator.
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The Twentieth Century For children’s literature, the twentieth century starts in earnest after the first World War. The Ed- wardian period was rich in enduring novels for children, but belongs, stylistically at least to the previ- ous century. However, technological and societal advances, such as the prominance of the motor car in Wind in the Willows , mark many of these works out as being from a different age to their Victorian counterparts, so we included them in the twentieth century, albeit by way of a transition period. Three authors dominate the early part of the twentieth century. All three were inspired by telling stories to entertain particular children, rather than writing books for a general concept of children, giving their narratives an ex tempore spontaneity which doubtless contributes to their success. Beatrix Potter initially wrote The Tale of Peter Rabbit in a letter to Noel Moore, the ailing son of her governess. Some years later she borrowed the letter back to develop it into a little book. Having been unable to convince a publisher to print the book as she enisaged, she resolved to publish it herself and in De- cember 1901 had 250 copies of her book to sell and distribute amongst friends. A year later Frederick Warne, one of the publishers who had initially rejected Peter Rabbit, had second thoughts and agreed to print the book. The book has never been out of print since its publication in 1902 and it and its many successors now adorn children’s bookcases throughout the world. The Wind in the Willows began life as a series of bedtime stories told by Kenneth Grahame to his son Alastair. Upon retiring from his position as secretary of the Bank of England, Grahame turned these stories into a full length novel. The book was rejected by several publishers, in one case with the memborable reponse, “An irresponsible holiday story that will never sell.” On publication, the book was well received without being a runaway success, and was originally issued with no illustrations besides a woodcut frontispiece by Graham Robertson. This gave a blank canvas for artists and continues to inspire a range of diverse illustrators to this day. Our third author, A.A.Milne, was also inspired by stories told to his son, Christopher Robin Milne. His Winnie the Pooh books have established themselves amongst the cornerstones of children’s litera- ture. Originally published as spacefillers for Punch, these semi-fictitious accounts of his son’s adven- tures were soon augmented with drawings by Punch’s political cartoonist, E.H. Shepard. One of the great author-illustrator collaborations was born. Four Winnie the Pooh books were published between 1924 and 1928, followed by a great number of spin offs, and went on to be produced in 25 languages and sell some 75 million copes since first publication, a figure that is still increasing at a rate of 500,000 copies a year. The success of these books demonstrated to publishers that children’s books were a viable business proposition. This in turn encouraged authors to be inventive giving rise to a plethora of different sylistic branches of children’s book. The cultural move away from didactic writing was now com- plete, and children began to turn to reading as an escape from reality. This lead to an explosion of fantastical works of all types, particularly the ‘epic fantasy’, exemplified by J.R.R.Tolkien’s Lord of the Rings trilogy, which although much imitated remains the standard bearer for the genre well into the twenty first century. Another prominent genre which enabled authors to fuse realisim with fantasy was the School Sto- ry. Begining in the nineteenth century with Tom Brown’s Schooldays and being ushered into the new century with the early work of P.G.Wodehouse, its structure remained broadly unchanged, merely developing to reflect the time in which the narative was set, taking in the William books of Richmal Crompton, as well as series by Enid Blyton, Eleanor Brent Dyer and Frank Richards, to name but a few, culminating with J.K.Rowling’s Harry Potter books at the end of century, whose astonishing success demonstrates the reading public’s continued appetite for that genre and children’s literature in general.
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THE FIRST PRIVATELY PRINTED PETER RABBIT
29. The Tale Of Peter Rabbit POTTER, Beatrix
Privately printed for the author, [1901]. First edition, first issue. 12mo. One of the initial 250 copies printed privately for the author. Orig- inal fawn paper covered boards lettered in black, with a flat spine (as issued). Colour frontispiece and 41 woodblock engravings from line drawings by the author. A superb, fine copy, which is exceptionally crisp and clean, with just the faintest marks to the endpapers. An exceptional copy of this fragile publication. [45801] SOLD The Tale of Peter Rabbit all began with a letter Potter sent to cheer up Noel Moore, the five year old son of her former governess, who was recovering from a bout of scarlet fever in 1893. “I don’t know what to write to you, so I shall tell you a story about four little rabbits, whose names were Flopsy, Mopsy, Cottontail, and Peter”, began Potter. As was her wont, she illustrated her letter with drawings of the characters. In 1900 Potter borrowed back the letter to rework the narrative into a little book she could sell to a publisher. She sent her manuscript to at least six publishers, including Warne, all of whom refused to publish it in accordance with her wishes, seeking something grander with colour illustrations. Undeterred, Potter made the decision to have the book printed herself whilst continuing the search for a mainstream publisher. By December 1901, 250 copies of her book had been printed by the London firm of Strangeways, which she offered for sale at 1s 2d. Within two weeks Potter had sold out and, flushed with success, ordered another 200 copies which contained the same illustrations, but with a few textual modifications, in a sturdier binding with a rounded, rather than flat, spine. At around this time Frederick Warne had been persuaded to reconsider and agreed to publish the book, subject to producing all the illustrations in colour. In order to achieve this, eleven of the illustrations were removed and the text was modified again. Some of the text which was removed for the Warne edition was later used in The Tale of Benjamin Bunny (1904). Success was instant: within a year Warne had sold nearly 50,000 copies and has since gone on to sell in excess of 40 million copies world wide. Copies of Potter’s original, privately printed edition, are now seldom encountered due to the very limited print run and the fragility of production. When they do surface, they are often damaged or repaired. Copies surviving in such sparkling condition as this one are very rare indeed.
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30. The Tale Of Peter Rabbit POTTER, Beatrix
Warne, 1902. First published edition, first issue with “wept big tears” on p.51. 12mo. Original dark brown paper covered boards lettered in white with pictorial onlay to upper cover of Peter in his blue jacket. Leaf-patterned endpapers. Illustrated throughout in colour by the author. A near fine copy, with an early ownership name to the front endpaper and very slight surface wear to the spine ends and joints. Internally fresh and tight. An unusually well preserved copy. [45521] £8,950 Originally conceived in 1893 in the form of a letter with pictures to cheer up an ill child, Beatrix Potter developed the story of Peter Rabbit into a book for publication in 1901. She sent her manuscript to at least six publishers only to have it refused by each of them, so made the decision to publish the book herself whilst continuing the search for a publisher who would issue the book in accordance with her wishes. In the end Frederick Warne & Co. agreed to publish the book but Potter was forced to compromise by having all the illustrations in colour. In order to achieve this, eleven of the illustrations were removed and the text was edited. Some of the text which was removed for the published edition was later used in T he Tale of Benjamin Bunny (1904). The book was an instant success and has never been out of print since publication. It is now regarded as one of the cornerstones of children’s literature. Its popularity and fragility mean that very few copies of the first edition have survived in collectable condition.
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31. The Tale Of The Flopsy Bunnies POTTER, Beatrix
F. Warne & Co., 1909. First edition, Dark green paper covered boards with white lettering and pictorial onlay to upper cover. Pictorial endpapers and 27 colour il- lustrations by the author. A near fine copy, crisp and bright, spine,lightly faded and with occasional slight looseness between sections. [46299] £950
32. Ginger & Pickles POTTER, Beatrix
F. Warne & Co., 1909. First edition, Original buff paper covered boards with large pictorial onlay. Pictorial end papers, twenty black and white illustrations and ten colour illustrations by the author. A very good copy, a little dusty. Some light marks to the endpapers and a previous owner’s neat inscription on the verso of the free front end paper. [46300] £350
33. The Story Of Miss Moppet POTTER, Beatrix
F. Warne & Co., [1916]. First edition in book form. 12mo. Grey paper covered boards, lettered in green and with circular pictorial onlay. Endpapers illustrated in colour with notice board design, plus 15 colour plates of the delightful kitten trying her very best to catch a mouse in a duster. A near fine copy with a hint of tanning to the spine. [46133] £500
34. The Tale Of Samuel Whiskers or The Roly-Poly Pudding POTTER, Beatrix
F. Warne & Co., [1926]. First edition in this format. 12mo. Red paper covered boards with white lettering and circular pictorial onlay with unprinted glassine dust- wrapper. Pictorial endpapers depict four different scenes, 18 colour plates many line drawings in the text. A fine copy in a chipped glassine wrapper. [46134] £500 This is the first edition of the story under this title. It was previously published as The Ro-
ly-Poly Pudding , in a larger format and with cloth covers. This new version is uniform with the other small books. The first three printings of this are impossible to tell apart, but later editions do not have the advertisement for the book under its original title on the verso front endpaper.
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